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I love Bill Cunningham. He's the original street fashion photographer - the one who mastered today's trend - and a New York institution. For years, he's been documenting fashion trends on the streets of New York, which he traverses on his trusty Schwinn, reporting for The New York Times.

Cunningham does a regular feature for the Times called "On the Street" in which you hear him talk about the photos he's taken. He's always so unabashedly enthusiastic.

Who knew you could be so happy about trench coats, leggings, and leopard print? OK, so I've been happy about those things (maybe not the leopard print). But Cunningham's appreciation for statement and expression makes fashion seem like a place for everyday adventure instead of a consumer trap.

A new documentary called "Bill Cunningham: New York" opens in San Diego this weekend. In it, we learn that Cunningham's life is his work. He's in his 80s and has lived something of monastic existence in the name of fashion - or as he might put it - the pursuit of beauty.

He's never had a romantic relationship. He attends church every Sunday. For years he lived in a tiny apartment above Carnegie Hall packed with file cabinets where he stores copies of every photograph he's ever taken (he's still shooting film). The apartment had no kitchen and a public bathroom down the hall. He stored his bike in a hall closet, retrieving it daily to hit the streets with his camera and rolls of film.

Cunningham and the last remaining tenants (paying rent-control prices) at Carnegie Hall moved last year, forced out by the owners who wanted to expand and renovate the apartments into offices and classrooms.

The film also introduces us to Cunningham's former and eccentric neighbors at Carnegie Hall. The most fascinating is Editta Sherman, a 99-year-old photographer who was once a muse for Andy Warhol. Sherman has been called the "Duchess of Carnegie Hall" where she lived for over 60 years.

For all the artifice and pretense of the worlds he covers (fashion and New York society), Cunningham is humble and completely without airs. He's a chronic smiler and his sense of humor is refreshing in an industry known for pouty lips and raised eyebrows.

For more of this review, go to the Culture Lust blog on www.kpbs.org

Greetings again from the darkness. Well my fashion sense is limited to jeans, a t-shirt and tennis shoes. I would not be one's first choice to discuss the industry of fashion photography. However, that's not what this documentary is really about. Instead of focusing on the photographs of Bill Cunningham, director Richard Press shoots the man at work and in life ... the two being indistinguishable for Mr. Cunningham.

If you aren't familiar with his name, you are not alone. Bill Cunningham has a long running NY TIMES page where his photographs are displayed. He also has a feature called "On The Street", where he records commentary for his photographs - this can be heard on the website. Still, none of that tells you much about this man.

The film opens abruptly with video of Cunningham at work. He is alternatingly riding his bicycle and sprint-walking as he weaves through the sea of taxis and humanity in downtown Manhattan. His trusty camera is always around his neck as he continues his quest for fashion on the street ... fashion sense in the working people of the city. His eye is sharp and quick. We never know what he will hone in on. Maybe a never-before-seen winter coat, a flamboyant hat, or even a pair of heels that a woman is sporting. The man is over 80 years old and his eye and mind still quickly process what he deems worthy of notice.

Once again, none of those words do justice to this man or his story. He lives an incredibly humble life in a studio apartment within the confines of Carnegie Hall. Yes, as the film takes place, he is among the last of the remaining residents of the great hall. We learn management has determined that the few residents will be moved out of the building and relocated to other apartments nearby. We meet one of the other residents ... the fascinating "Duchesss of Carnegie", Editta Sherman. She has lived there for 60 years and it has been her home and photography studio. She made her living shooting celebrities and we catch a glimpse of her amazing work ... including a short video of her dancing in the 60's - filmed by Andy Warhol! Ms. Sherman's space is palatial compared to Cunningham's. His small studio apartment is crammed with metal file cabinets, each loaded with decades worth of photographs and negatives ... a real history of New York fashion. His bed is a twin mattress held up by books and crates - no kitchen, and a community bathroom. "Humble existence" is an understatement.

We learn from Mr. Cunningham that his work is divided into three parts: his street work, fashion shows, and charity events. He makes it clear that celebrities bore him and he is much more interested in how the everyday person uses fashion in their real life. Still, early on, we get comments from Vogue editor, Anna Wintour about how Cunningham's eye impacts the fashion world. She gives him much credit. We also get quickies from Tom Wolfe, Annie Flanders and even Brooke Astor to see how easily Cunningham fits in with the upper crust, despite his connection to the street. There is even a segment in Paris where he is honored by the French Order of Art and Letters ... and he "works" his own event! But it's the street where he is most at home. He says he is on his 29th bicycle ... the first 28 were stolen. He states this with the same enthusiasm that he shoots his subjects. The man is a constant smile and quick with banter, yet we learn just how alone he really is. When asked about his friends, family, lovers ... he momentarily breaks down only to regroup and express his love for what he does - it's not work, it's pleasure.

By the end, it's clear that while so many people respect the man and his work, no one really knows him. He lets his pictures stand as the testament to decades of documenting the colors and patterns and style of New Yorkers.

www.eattheblinds.com

I just got off an overseas flight from London and was lucky enough to start the long journey with a great documentary: Bill Cunningham New York, by Richard Press.

Even if fashion isn't your thing, Bill is such a rare and inspiring person, it's impossible to not be moved by his story. At 80 years old, Bill continues to bike all over Manhattan, snapping photos for his NYT feature "On the Street." He's one of the original street style photographers and his legacy is not only respected by those in the know, his influence ripples through the entire fashion industry.

I have lived in Manhattan for 32 years, 31 of them a very short walking distance from the corner of 57th and 5th, where Mr. Cunningham hunts his prey during the year. I have met him and seen him at work, but knew very little about him. This wonderful documentary not only shows Cunningham going after his shots, but is a wonderful window into the role of fashion and society in New York, with incredible images going back to the 1970s (and in some cases, even earlier). I admit that I cried for about 15 minutes in the beginning, so beautifully do the filmmakers create Cunningham's world -- and a New York I have had the privilege of experiencing. If you liked "The September Issue," or the recent Valentino or Yves St. Laurent documentaries, run don't walk to Bill Cunningham New York. And if you're a gay man of a certain age, bring Kleenex.

I can't positively gush about this movie more than any other viewer can. This documentary warms the heart and allows people to see a side of life not many seem to slow down enough to view. I had never heard of him before watching this, but Bill truly is a great man. This movie makes me want to slow down and appreciate the everyday styles that people choose. I loved the various side-interviews with notable subjects of his photographs and colleagues, many of whom have similarly quirky yet important stories to tell. The music was so well grafted into the scenes that you may overlook it, but it guides the times and New York-living so well that it shouldn't be overlooked, either. If you're looking for a heart-warming documentary about a very important figure and artist in modern fashion photography, you'll enjoy learning about Bill as much as I did.

Wonderful film about the misunderstood and often contradictory peculiarities of the fashion world. Bill himself is an everyday man strikingly distinct from some of the outrageous fashions on display in contemporary New York yet he is respected ans one of the most enduring authorities on fashion today. His simple and discreet way of living as embodied by his spare and modest studio in Carnegie hall (a stark contrast in itself) illustrates Cunningham's principles on fashion itself: "It's not the celebrity, the spectacle, it's the clothes."

What is also insightful is how tends and set and grow organically out on the street, not on some fashion runway (although it remains a fascination for Bill). The idea that fashion is not just for the rich and famous, but for the everyday person is exemplified by the "bag ladies" of new york, the "water bottle", "baggy jeans", and 80s fashion; it's lovely to see Bill pay tribute to these somewhat eccentric trends in the column that also charts the who's who of high society in New York as if to say "these are our people, and this is our culture, no matter who you are."

Bill is a charming and enigmatic character, still going strong at 80(!) years and heartwarming to see with so much respect amongst his peers. The city of New York is a character itself as always, the variety of fashion and cultures is incredibly rich and entertaining. He shows that there are many good people in high society who donate themselves to charitable and artistic institutions; yet while he becomes involved in that world of riches he remains cautious about becoming too involved dedicating himself solely to the art of fashion.

While Bill concedes he may not have lived the ideal life (and I think the interviewer probes just a little too close), his life remains immensely rich from his friends and connections, one in which he has almost free rein to document his passions, ironically without the material things fashion itself can exemplify. He is such an enigmatic and joyous character that one can only believe his is greatly fulfilled by life, and only wrongly assume, he is missing out on anything.

I wasn't sure how I felt going into Bill Cunningham New York. I thought to myself this is a man who goes around New York photographing men and women wearing their attire, and doing a lot of cutting and pasting into making it a weekly section in The New York Times. But I also thought that this couldn't be the end of the story. Something about Bill Cunningham had to be interesting, creative, and unique to get his own film.

Thankfully, I thought correctly, and now am fully intrigued by the life of eighty-year old Bill Cunningham. His job is not only a different one, but one he tirelessly continues to do as he rides around on his twenty-ninth Schwinn bicycle up and down lower Manhattan to photograph boots, hats, scarfs, clothes, pants, etc. This is a man who through thick and thin keeps on smiling. You'd never know he was having a bad day because he'd most likely smile during that too.

Bill lives in a tiny, rent-controlled apartment in Carnegie Hall where there is no kitchen, but dozens of file cabinets filled with negatives and positives of photos he's taken over the past several years. He sleeps on a mattress that lies on top of several more file cabinets. All I can say is if you think you're a dedicated lawyer, do you sleep on your briefcase? The film is 90% about Bill and his photography, and the other 10% tries to nudge him in the side trying to dig deeper in his personal life when he won't let you. We keep asking questions like "Is Bill straight?," "Does he date?," and etc, but we get little to no answers. Maybe because this is a documentary about his work not his personal life. But the neglection of something a documentary on a specific person needs, a little background, just brings this gem down a tad bit.

Bill explains how when he was a young child, at Church on Sundays, instead of listening to the preacher he'd be too busy staring at other people's hats. This shows that his passion for fashion, a relatively eclectic thing, started early and never held up.

Many of us work at a job that keeps us satisfied and puts food on the table. Bill works a job that keeps him over-joyed and puts food on his floor next to his file-cabinets. Rarely do a lot of people truly love what they are doing, but Bill is one of them. He's a person who if you watch be happy for a while, it begins to make you smile. He's the kind of person that just fills you with glee.

Bill Cunningham New York is short and sweet, but still leaves many questions unanswered that I'm sure will remain unanswered forever. Bill is a closed book, but open if you ask him anything about fashion. He's a mirror-image of what you can become if you take life on the slow track and live a very basic, yet eventful life. It's almost inspiring with its storytelling of just a simple, yet so complex man of interest.

Starring: Bill Cunningham. Directed by: Richard Press.

Bill Cunningham New York (2010)

*** (out of 4)

Nice documentary cover photographer Bill Cunningham who rides around New York City on his bicycle taking pictures of everyone from your average person on the street to some higher known people. We follow Bill as he rides around the city, working on the streets and in his office and we also learn about his personal life including him living at Carnegie Hall. I'll admit that I really wasn't familiar with Cunningham in any way so I went into this documentary rather blind. I found the movie to be fascinating mainly because Cunningham is such an interesting figure. I will admit that fans of photography will probably enjoy this a lot more than I did because that subject is just something that has never really interested me. However, as a character study I found myself entertained throughout the majority of the running time. I enjoyed watching how Cunningham would just ride around town snapping shots of what he found interesting. I thought it was rather fun seeing how he would show his work and what he would or wouldn't want to do with it. It was interesting hearing his thoughts about a magazine who went against his wishes and showed "normal" people as being something less than the more famous ones he photographed. Overall, fans of Cunningham should really love this look at the man, his work and his thoughts. Others should still be entertained even if they're not familiar with the man or care about the work he does.

As a creature Bill Cunningham exists not just in New York but could only exist in New York. Only The Big Apple would provide an environment supportive of an someone obsessed with photographing what people are wearing. Certainly, the Los Angeles area provides a sustaining environment for huge populations of paparazzi but they survive by taking photos of celebrities and only by extension the clothes they are in (or more accurately the clothes they are mostly out of). Cunningham's visceral need to bike around NYC's streets and snap photos of what folks on the street are wearing in addition to his paparazzi duties wouldn't pay in other towns. And it is his obsessiveness that gives this documentary of his life its fire. Watching him interact with other people in the film is interesting because they seem to be talking with a cartoon character come to life. If Bill is the Road Runner (or Wile E Coyote, your choice) then New York is the cartoon canyons they compete in. Bill actually lives at Carnegie Hall (answering the age old question on how you get there - you move in when it was still residential and rent controlled and fight their efforts to evict you.) Like a cartoon canyon, Bill's New York is simplified down to a pantomime background. Bill's work limits itself to just the glamorous, well-tailored residents and beautiful spaces of the city making the streets seem like one massive catwalk. But in the same sense that Bill does not see the need to define himself further than photographer, his documentary does not need to define the city greater than a stage. The only major shortcoming of the movie is the question of whether it carries substantive enough material to have warranted a theatrical release. This could have easily been a two-part PBS special and it would not have seemed to have pushed the boundaries of televised entertainment. In short, if you enjoy New York or fashion r biography, this light documentary is for you.

This is one of the best documentaries you will see. A humble, honest, artistic and amazingly talented man manages to stay connected with the real world despite being a very integral part of the dizzy, artificial world of high fashion. One review here said the filmmakers hadn't really delved enough into Cunningham's personal life. I'd agree -- where did he come from? What were his family's occupations? Wasn't there anyone from his childhood to talk to? Maybe he ruled this out. And clues as to why they didn't persist with this line are in the film -- he is tongue tied when asked about his relationships, and a little shy. In fact some of those personal questions scenes make him excruciatingly self conscious. Like many photographers, he prefers to document the story, not be the centre of attention. And in any case, probably just capturing him cycle around New York and snap the perfect street fashion shots is pretty interesting. Especially the scenes in which he zeroes in on some amazing trend such as polkadots or ponchos or low slung jeans. Overall, the most likable thing about Cunningham is that he is very much an individual, which is also what he says he loves most about his photographic subjects -- how they express themselves, how they're not just part of the crowd. May he long continue to roam the streets of New York.

This documentary about Bill Cunningham, a fashion photographer for the New York Times, and New York City street photographer, held my interest until it started getting repetitive. Indeed, Cunningham, now in his 80s, is a unique character what with his ascetic lifestyle and riding his bike all over New York City pursuing his passion for photographing any mode of dress he finds interesting. And the irony of his photographing the rich and famous was not lost on me. But I began to tire of all of the footage that had him riding his bike around and the mechanics of publishing his photographs.

The most frustrating thing for me was that I wanted to see more of his work. For the most part we see images, frequently multiple images per frame, for a split second. Impossible to absorb them with any level of appreciation. There were several scenes showing Cunningham working with an assistant (and driving him nuts) to compose layouts for the Times. Again, all we see is split second takes showing him moving images around. Damn it, I wanted to see more of his work. Don't most artists say that you can know them best through their work? We don't get to see enough of Cunningham's work to make that judgment.

We often see Cunningham rushing down a sidewalk in front of someone he wanted to photograph so that he could get some good shots when they passed by. These scenes made me uncomfortable by their apparent rudeness, but maybe that is pretty low level stuff for New Yorkers. But I have to think that many a person who was idly walking down the street one day only to find their picture in the New York Times the next day would be a bit irritated.

There was a missed opportunity to discuss the legality of photographing people in public spaces.

This feature about one of the worlds leading photographers is something not to be missed. It paints the portrait of a man who see's the world from a different view than most. It shows the beauty in the mind of one who's view on fashion is something that comes from a deeper place. We get to see snip-it's of Bill Cunningham's deepest emotions and also the vision of a true visionary. These moments captured are charming, slightly funny, and relevant. Of all the documentaries scoping the life of one person I've seen, they really don't get much better than this. This film, which does have much critical acclaim now, is one that is deserving of it's praise, and at the same time is not in any way pretentious. It is not only one of the most heartfelt films of the year, but also one of the very best.

Bill Cunningham is an influential and beloved fashion photographer working at the New York Times but very few people actually know him. He has been photographing the fashion seen on the streets for around 30 years. He rides his bicycle. He eats cheap food. He doesn't spend money on clothes. His small Spartan apartment is filled with file cabinets holding all his negatives. He doesn't care about money. He and his friend Editta Sherman are getting evicted. At his core, he is obsessed with fashion and photographing the changing style in New York. It's a fascinating portrait. It also doesn't shy away from the obvious personal questions. It comes later in the movie just as the lack of personal life starts to be prominent. It reveals the real person behind the camera.

The subject of this documentary kinda reminded me of Andy Warhol, another serious artist who masqueraded as an eccentric boulevardier. And also like Warhol Cunningham was a bit too comfortable around the New York glitterati for me to want to spend ninety minutes with him. (It's not that the New York glitterati are worse than, say, the San Francisco or Indianapolis glitterati. It just seems that way) Consequently, right around Lady Astor's one hundredth b-day bash I decided to pull the plug. Give it a C plus.

PS...I am amazed that someone who did that much night time bike riding in Manhattan managed to make it to eighty seven.

Bill Cunningham can't be bought. He is there to observe and to take pictures, not to consume the fancy meal or mingle with the celebrities; a line which most individuals in his position would most likely blur. Bill has a section of the Sunday New York Times Style section where he will point out a new clothing trend he sees on the streets, what people were wearing at a recent evening gala, or just profile an interesting looking person. I used to skip over this section every week; however, now that I know about Bill from the excellent documentary Bill Cunningham New York, I will never skip over this section again.

Even though Bill is now 80 years old, he still dons his signature blue jacket every day and rides his bicycle all over Manhattan searching and taking pictures. If it is raining, he will duct tape a garbage bag over his shirt. He is searching for interesting clothing and it does not matter if a celebrity is wearing them or not. A major separation between Bill and other photographers is he is just fine not taking a celebrity picture; he does not care at all about a person's fame level, just in their choice of clothing.

Bill is usually the first to notice a new trend. While frequenting street corners, crosswalks, and the outside of department stores, he will immediately stop his bike (sometimes in the middle of traffic) to snap a few shots. During the first week of August, he happened to notice that a lot of New Yorkers were wearing black and made that a his column's focus. Bill has become a celebrity on his bicycle as he cruises the streets and there are many influential people, who Bill could care less about, who crave his attention. There are interviews from Anna Wintour, Tom Wolfe, and other very powerful people in the fashion industry who will also take time out of their day to find out what Bill knows.

Even though he has the power to affect clothing trends, until very recently, Bill lived in Carnegie Hall as one of the few remaining visual artist tenants before the final lot of them were evicted to new premises. He slept on a cot in what could be described as closet space surrounded by dozens of file cabinets containing his life's work. If Bill thinks he has seen something before, he is pretty sure he can go back and find it. One example is of a designer who revealed a new collection only for Bill to find a 1972 photo montage of an eerily similar line.

Bill Cunningham New York is a documentary I was not eager to see because I assumed it was just about the fashion world. I was completely wrong. It is not about fashion, it is just about Bill and his routine which is completely absorbing and perhaps the best documentary of the year. It is also the second documentary this year dealing with the New York Times released just before Page One: Inside the New York Times. Now that I have seen them both, there is a reason the story on Bill Cunningham is on the short list of 15 documentaries which are eligible for this year's Best Documentary Oscar. If it happens to win, it will not matter very much to Bill. He will be doing what he does every day, riding his bicycle to find the next interesting pair of shoes.

He started as a milliner. When that trade collapsed in the 1960s, he took to roaming the streets with a camera, taking pictures of how people actually dressed. His pictures ran in Women's Wear Daily until apparently he grew to dislike the sarcastic captions the editors tagged them with, so for a half century he did the same for the New York Times, with his own kindly comments.

Cunningham was, in short, one of those ubiquitous characters of the city. He knew everyone from Brooke Astor on down, but no one really knew him. This documentary on him notes that he came from Boston, and people speculate he came from money, but no one seems to be sure. There's some discussion on his ability to pick out current trends in how people dressed, and his essential kindness. But despite the speculation, he remains an observer more than the observed in this documentary.

I think that every city has these people, and larger cities tend to fetishize them a bit, from Beau Brummel in Regency London to the Emperor Norton in post-Civil-War San Francisco. This show never drags, but in the end, it leads nowhere in particular. Which is pretty much the same of the city.

This documentary follows the subject in the title: a freelance photographer in his eighties who is hired at high society functions but is more interested in photographing the fashion on the streets. His photos of average people periodically showed in the New York Times.

This film is praiseworthy for various reasons. One is the skillful directing style by Richard Press. But the main draw is the genuinely humble and likeable subject matter. Like the Topp Twins, the subject of another documentary of the same era, Bill Cunningham manages to stay genuine despite the potential trappings of the arts and culture scene. This is especially true of the fashion scene which is frequently elitist, superficial, and downright snotty. Cunningham's belief is that everyone is interesting in their own way. His own lifestyle is very modest likely due to his working-class, Catholic background.

After being exposed to Cunningham for so long, it is clear there isn't a false note about him. This is not always the case in other fashion documentaries. One such example is "The September Issue" which was more of a public relations attempt for Anna Wintour to look good after being indirectly pilloried in "The Devil Wears Prada". Incidentally, Wintour shows in this current film. She's at least a little more genuine this time around.

The best thing about this film is its egalitarian outlook on fashion. Nobody is left out or chastised. What a wonderful attitude whatever the subject. It also includes a welcome rarity: looking back on the beginning of the flower-power, hippy movement with fondness rather than disdain. - dbamateurcritic.

Once upon a time this reviewer was a photographer who rode a bicycle for work. I carried a camera always. Film, until digital became cheaper. Here we have a man in love with his city and his camera. Director Press (what an apt name!), who also photographs and cuts, sets out to draw a man. In doing so he puts a tiny figure into a broad panorama of what some would say is the cultural capital of the world. Could a Bill Cunningham exist anywhere else? OK, we spend a little time in Paris, but the flavor is New York. This reviewer knows New York, has been influenced by Paris with but fleeting visits. This film alludes to the work of Jean Luc Godard, a director of imagination. Amongst photographers, Paris and New York evoke images that stimulate and provoke.

In my reviews I've been critical of hand-held camera work. Otherwise fine films, I believe, have suffered because the cinematographers have forgotten that viewers expect to see steady images. This film uses hand-held wisely, intercutting it with fixed scenes. There is a rhythm of busy, noisy shots interspersed with quiet, even contemplative material. This is an absorbing, thoughtful motion picture, telling a story of a "stills" master.

As I walked out of the cinema, people chatted animatedly with strangers about what they had seen, a reaction I had not before seen. My own reaction was envy and admiration. Here was an octogenarian riding a bike, when I had had to give it up; a photographer productive and imaginative. Lovely and exciting.

He has pursed beauty all his life.

He has a beautiful heart!

His life is simple, pure, straight and beautiful!

He sends out his beauty to the world!

They say that if you live in New York long enough, you will encounter Bill Cunningham. You will see him at a runway show, or a high society banquet, but most likely you will see him in the street taking pictures of anyone who catches his eye. Bill Cunningham can be called a fashion photographer, but that would be limiting his work. He is a chronicler of life in New York City, of the people and places, and of course, of the clothes. Cunningham admits that he loves clothes, any clothes, because it perfectly mirrors the personality of the person wearing it. Even though Cunningham has no prejudice, he is able to spot trends emerging out of the bustle of New York City streets. That's why his column in The New York Times is so cherished by the fashion industry: even the highest ranking professionals like Anna Wintour take the lead from Bill in reporting the latest fashion trends.

"Bill Cunningham New York" is a documentary that follows its subject on his daily routine. And it is a routine, however unorthodox: Bill wakes up around 5 a.m. In a tiny Manhattan studio apartment, gets on his bike and sets about patrolling the streets of New York City, snapping any fashion item that catches his eye. Cunningham is an extremely dedicated photographer: he will literally jump in front of a car to take a picture. He always captures the fleeting moments, none of his pictures are choreographed. Most of the people that he photographs pay him no attention, since his face, concealed by his camera, is far less known than his work. I doubt that before this documentary was released Bill's face was ever shown on screen. He is perfectly happy to remain anonymous, since that gives him more freedom.

Bill's life is all about his work. Now in his early eighties, he lives alone in a tiny apartment and dedicates himself to photography. He can talk about his work for hours (as evidenced by this film), but he also doesn't shy away from personal questions. There are a couple of instances where he refuses to answer a question that hits too close to home, but most of the time he is honest, humble and delightful. In fact, Cunningham is such an appealing and warm character that by the end of the movie you feel like you've known him forever. There is not a single person interviewed for the documentary who can say a bad thing about him. He is reported to be a true professional with amazing integrity and a rebelliousness of the good kind, the kind that keeps him from going corporate and selling out. More importantly, he is an unbelievably positive person, who calls everyone "child" or "muffin", and appears to be in love with the entire human race. He says that his photographs are there to present the people in the best possible light, and he once broke off a contract with a publisher who tried using his pictures with snide comments.

I would recommend this film to anyone who is interested in fashion or photography. You can learn a lot from Cunningham, who, for all his modesty and lack of an ego, knows exactly what he wants to achieve and will set anyone who doesn't get it straight. It is obvious that Bill's effortless style was formed through years of hard work and self-improvement. He strikes me as a man who would be doing his job even if he was never paid or published. In fact, he never takes more money than he needs, and he doesn't need a lot. That's the thing that stupefies his colleagues, but it sure keeps him honest and unbiased.

Most of all, watch "Bill Cunningham New York" if you want to remember what the Big Apple is all about: being an inspiration for artists and providing the best birth place for works of art.